With eight years of noisy, complicated, wallpushing music under the bonnet, London happening-makers Chaos Theory are celebrating with a two-pm-to-two-am alldayer at the start of February, featuring the pick of their past few years of concerts.
Chaos Theory Promotions presents:
‘8 Years of Chaos: Celebrating Eight Years of Music for Open Minds’
The Brewhouse @ London Fields Brewery, 369-370 Helmsley Place, South Hackney, London, E8 3SB, England
Saturday 3rd February 2018, 2.00pm – information here, here and here
As a foundation, expect plenty of of time-signature-skipping, dynamic shifts and steely guitar work from a mass of loud experimental-progressive rock bands, mostly sandwiched between eight-wheeled prog/garage roarers The Fierce & The Dead and cunning tales-of-the-unexpected heavy post-proggers Thumpermonkey. Predominantly (if not entirely) instrumental, these include revitalised Brighton math-metallers Poly-Math, jumpy slammers Flies Are Spies From Hell and the epic goth-toned Tacoma Narrows Bridge Disaster, plus grand grunge/prog/metal heavies Sümer.
The earlier part of the day will see classical fusion and more experimental, free-floating performers. Mystical avant-cello darling Jo Quail will be playing a set, as will electro-acoustic post-classicalist Lucy Claire. Oliver Barrett’s devotional-drone project Petrels will make an appearance in full band format, while the festival’s opening slot goes to Prometheus & The Satyrs: a new permutation of the work of Spyros Giasafakis and Evi Stergiou (who, as Daemonia Nymphe, have been reworking ancient Greek instruments and music into new part-improvised dark-blurred pieces like an Athenian Dead Can Dance).
As the day wears on, though, things will get hairier and the music gradually heavier and more ritualistic via slots from baleful screaming sludge-metallers Wren, Kentish metalcore men Harrowed, head-against-the-wah-pedal psychedelic noise-metallers Casual Nun and hot-rodding motorik chanters Taman Shud. Towards the end, the infamous Sly & The Family Drone squad will be simultaneously on and offstage. A free-play shufflezone of border-crashing electronics, feedback and occasional horns, they hand out their drums to the audience as part of a mutual meld of inspiration and noisemaking. Drones, blares, convulsions and fragments usually ensue.
The electronics-and-drums duo who are playing as the closing act used to rejoice in the pretty hideous provocateur name of Shitwife. Since then (and post-Pussygate) they’ve grown up a bit, have opted to represent heart and community over nose-tweaking and nihilistic offence, and have been blazing on since June last year as Big Lad. From the early days as an “astonishingly brutal drums/laptop/electronics juggernaut fusing rave, death metal, noise and post-hardcore”, they’re now sleekening into a sunnier, more ecstatic outfit: still slopping out welters of in-your-face noise, but now letting their rave ethics flush through in a setful of “high octane party bangers” and in their desire to become “the band that brings the biggest, rudest party to as many people as possible… we want you to be able to meet awesome new people at the shows and hopefully start sharing important ideas about how we can combat the fuckers that are causing real damage!” It should be an ideal Chaos Theory signoff: blitzing noise meets communal joy.
While there’s a powerful taste of CT’s Facemelter and Whispers & Hurricanes nights here (the metal and the woods) there’s not quite so much from their Jazz Market side to hand. Never mind: there’s only so many hours available – and there’ll be more of everything in the coming year. There’s also a plentiful supply of live-at-Chaos-Theory event clips below, (plus a few borrowings from elsewhere) to get you in the mood…
Misfit City 
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